{"product_id":"jeremy-siepmann-classics-explained-rite-of-spring","title":"Jeremy Siepmann- Classics Explained: Rite of Spring (CD)","description":"\u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): Introduction, background and perspective\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): A gentle, other-worldly start; no sign of the violence to come\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): Music as mosaic; the composer as constructor\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): Two functions of metrical change: going with the flow...\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): ...or disrupting it: a sample of metrical violence\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): A stealthy entry (clarinets)\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): Detour: the destabilising properties of chromaticism\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): On melodies, themes and motifs\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): The new cor anglais motif dominates\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): The oboe's rhythmic motif takes over\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): A primeval awakening\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): A panoply of Stravinskyan birdsong\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): A matter of mode\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): Cue to Introduction\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): Introduction (complete)\u003c\/li\u003e\n\u003cli\u003eClassics Explained: Stravinsky - The Rite of Spring (Siepmann): Part I: The Adoration of the Earth: The Augurs of Spring \/ Dance\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: The Augurs of Spring \/ Dances of the Young Girls: The great arrival: bitonality\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: The Augurs of Spring \/ Dances of the Young Girls: Putting the boot in: a metrical mugging\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: The Augurs of Spring \/ Dances of the Young Girls: The prevalence of ostinatos, and a rightin\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: The Augurs of Spring \/ Dances of the Young Girls: Metre restores (briefly) but the 'savage m\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: The Augurs of Spring \/ Dances of the Young Girls: The musical savages routed\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: The Augurs of Spring \/ Dances of the Young Girls: An important new arrival (the 'horn motif'\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: The Augurs of Spring \/ Dances of the Young Girls: Another new theme from the horns\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: The Augurs of Spring \/ Dances of the Young Girls: A crowded conclusion\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Ritual of Abduction: A real study in contrasts\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Ritual of Abduction: Panic and pandemonium as timpani open fire\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Ritual of Abduction: Climactic melee haunted by 'fear motif'\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Spring Rounds: Suddenly another world, as flutes hover over harmonic vapour...\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Spring Rounds: ...but a transient one: new movement arises from the deep\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Spring Rounds: 'Dragging feet motif' over ostinato violins, twice interrupted\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Spring Rounds: 'Marching motif' developed further by flutes and horns\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Spring Rounds: A trilling commentary from piccolo and high clarinet\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Spring Rounds: 'Marching motif' theme goes polymetric in huge crescendo\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Spring Rounds: An unexpected change of pace as tempo doubles\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Spring Rounds: And an unexpected reversion, to a quiet close\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Ritual of the Rival Tribes: Violent onslaught from brass and timpani launches the 'Rival Tri\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Ritual of the Rival Tribes: Rival Tribes, rival motifs\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Ritual of the Rival Tribes: Sensational violence comes close to chaos\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Ritual of the Rival Tribes: Effects, impressions and alteration\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Ritual of the Rival Tribes: A surprise re-entry and a change of instrumental clothing\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Ritual of the Rival Tribes: A thinning of texture, a new idea, and a rude interruption\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Ritual of the Rival Tribes: The new idea developed: a minor earthquake\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Ritual of the Rival Tribes: The use of tone colour as an agent of rhythm\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Ritual of the Rival Tribes: An unusual climax...\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Ritual of the Rival Tribes: ...and a sinister transition\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Procession of the Sage: Across the threshold into an instrumental population explosion\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Procession of the Sage: A sudden silence and then another world\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Procession of the Sage: Catapulted into the 'Dance of the Earth'\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Dance of the Earth: Tiny changes, unyielding ostinatos, massive tension\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Dance of the Earth: Cue to Part I complete\u003c\/li\u003e\n\u003cli\u003ePart I: The Adoration of the Earth: Dance of the Earth: Part I (complete)\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Introduction: Again a muted, subtly coloured start\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Introduction: Tone colour as atmosphere - the strings' motif\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Introduction: Four solo violas, above gently rocking strings\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Introduction: A pregnant pause, and a new motif in muted trumpets\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Mystic Circles of the Young Girls: Motif from the Introduction varied and extended\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Mystic Circles of the Young Girls: New motif, heralded by clarinets and violins, is introduced by alto f\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Mystic Circles of the Young Girls: Continued by oboes and bassoons; new motif in violins, cellos and bas\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Mystic Circles of the Young Girls: Main motifs yield to new idea from flutes\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Mystic Circles of the Young Girls: All change - direction, tone colour, metre - and two new ostinatos\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Mystic Circles of the Young Girls: Motif No. 1 returns in horn, then passed to flutes and strings\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Mystic Circles of the Young Girls: Texture, balance and tone colour keep changing\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Mystic Circles of the Young Girls: Instrumental enrichment, new counterpoint and a bleat of alarm\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Mystic Circles of the Young Girls: New derivative of Motif No. 2, a host of new sounds - and again the b\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Mystic Circles of the Young Girls: Into the finishing stretch, and we know we're in for something big\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Mystic Circles of the Young Girls: Putting the movement back together again\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Mystic Circles of the Young Girls: Mystic Circles of the Young Girls (complete)\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Glorification of the Chosen One: On into one of the most sensational movements ever written\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Glorification of the Chosen One: The violence is almost graphic. An example of musical terrorism\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Glorification of the Chosen One: Motif No. 2: a terrible, off-beat com-pah from strings, horns and oboes\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Glorification of the Chosen One: The air is filled with the fearsome baying of wind and violins\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Glorification of the Chosen One: A variant of Motif No. 2, but now descending\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Glorification of the Chosen One: A study in the bruality of suspense - a musical mugging\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Glorification of the Chosen One: The middle section begins with a massive but unequal confrontation\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Glorification of the Chosen One: In the midst of the fray, a new 'rising motif' emerges...\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Glorification of the Chosen One: ...and undergoes a typcially Stravinskyan expansion and compression\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Glorification of the Chosen One: A much-needed breath before the movement entire\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Glorification of the Chosen One: Glorification of the Chosen One (complete)\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times varied\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Evocation of the Ancestors: The second statement: breaking the metrical flow\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Ritual Action of the Ancestors: At last the establishment of a clear and steady beat, but will it last?\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time signatures\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Ritual Action of the Ancestors: Horns introduce the first real motif, destabilised by multiple metres\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Ritual Action of the Ancestors: The motif disappears, though the background ostinato continues\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Ritual Action of the Ancestors: A change of mood, then the whole orchestra crashes in\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Ritual Action of the Ancestors: The steady pulse gives way to a tossed salad of one-bar motifs\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Ritual Action of the Ancestors: Lately abandoned, the steady pulse returns, as does the 'trumpet motif'\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Ritual Action of the Ancestors: Evocation of the Ancestors (complete) and Ritual Action of the Ancestors\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: The last movement is based on two motifs, the first most motable for its rhythm\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: The second motif is likewise predominatly rhythmical in effect\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: Two variants: one a rhythmic simplification, the other an expansion\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: A new section, again with two main motifs, the first from wind and strings\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: This is joined by another bried but very striking motif from muted brass\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: Tension dramatically increased by a violent interruption from timpani and gong\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: Motif No. 2 is passed from bassoons to high wind and trumpets...\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: ...and is twice interrupted by horns\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: Motif No. 1 erupts in full orchestra, then all hell breaks loose\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: A new section, kick-started by percussion: timpani, bass drum and gong\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: Horns, doubled by strings, introduce the main idea of this new section\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: The return of the movement's opening section - or so we may think\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: Dramatic compression of now-familiar material\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: A terrifying cocktail of motifs old and new confounds expectations...\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: ...and leads to the coda, the final flourish of the whole work\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: Cue to all of Part II and end of CD\u003c\/li\u003e\n\u003cli\u003ePart II: The Sacrifice: Sacrificial Dance: Part II (complete)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e","brand":"Alliance - BT","offers":[{"title":"Default Title","offer_id":46986421141725,"sku":"636943808528","price":4300.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0551\/1056\/6043\/files\/532782.jpg?v=1762930974","url":"https:\/\/shop.darksiderecords.com\/ja-jp\/products\/jeremy-siepmann-classics-explained-rite-of-spring","provider":"Darkside Records","version":"1.0","type":"link"}